32 research outputs found
Ayana Evans
No full textSeph Rodney présente l'artiste Ayana Evans le 21 avril 2017 lors de la table ronde du Festival International d'Art Performance
Audrey Phibel
No full textSeph Rodney présente l'artiste Audrey Phibel le 21 avril 2017 lors de la table ronde du Festival International d'Art Performance
Joyce J. Scott Harriet Tubman and other truths
No full textThe most comprehensive publication available to date on the work of Baltimore-based, African American artist Joyce J. Scott (born 1948), this beautiful monograph features more than 60 works from the last 45 years, including 12 new pieces based upon Harriet Tubman. Exploring subjects of representation, politics and topical events involving African Americans and oppressed people worldwide, 'Joyce J. Scott: Harriet Tubman and Other Truths' showcases the beauty of Scott's art, mastery of her materials and provocative worldviews. Essays by co-curators Lowery Stokes Sims and Patterson Sims, an interview with the artist and commentary by Seph Rodney provide rich narrative and context. Exhibition: Grounds for Sculpture, Hamilton, USA (20.10.2017-01.04.2018
The Story of a Visit: Instrumentalisation and the Social Uplift Model of the Museum
No full textThis article comes out of a seminar series given at UCL in 2011. It deals with the notion of the 'voice' within the museum. The article addresses a particular story of the discovery of the author's own individual voice through being socialised by the museum. The author details the means and results of this socialisation and then claims that his biography, an inspirational story about the museum, is being co-opted. He argues that those who believe that the museum should act as a mechanism of social inclusion and rescue for the disfranchised use a story of personal transformation to support policies of social intervention by museums
The Story of a Visit
No full textThis article is comes out of a seminar series given at UCL in 2011. It deals with the notion of the 'voice' within the museum. That is, the article adresses a particular story of the discovery of the author's own individual voice through being socialized by the museum. The author details the means and results of this socialization and then claims that his biography, an inspirational story about the museum, is being coopted. He argues that those who believe the museum should act as a mechanism of social inclusion and rescue for the disfranchised use a story of personal transformation to support policies of social intervention by museums
Museums, discourse, and visitors : the case of London's Tate Modern
No full textThis thesis examines the conceptualization of the visitor within the discursive construction of the
contemporary public art museum. It takes the rhetorical formulation of the interaction between the
theorized visitor figure and the discursively rendered museum to constitute the ‘visit’. This work
argues that the position of the visitor within museum discourse has radically shifted in the past
generation; the primary claim being that the visit is reconceived as a personally customizable
experience less oriented toward the transfer of information from the curator (regarded as expert
and educator) to the visitor figure (regarded as ignorant pupil), and more oriented toward meeting
the particular needs and preferences of the visitor. This conception currently appears in museum
discourse and in the minds of influential actors who shape this discourse. To analyze this claim,
this thesis draws on the institutionalization of the visit via a case study of the Tate Modern
museum, which provides the primary empirical evidence demonstrating the above claim. The
resulting study relates the questions, structure, and findings of a systematic investigation into the
historical, social, and museological conditions necessary to an institutionally manifested
personalized, visitor-centered visit. The conceptual development of the visitor figure is traced
through implicit accounts of the visit within academic studies of the museum, institutional
records, marketing reports, advertisements, and the public discourse convened around Tate
Modern’s opening thematic displays that served as an extension of Tate’s marketing and audience
development programs. This visitor figure is now coextensive with and conditioned by a
neoliberal participatory agenda that trades on the notion of personal agency and enlightened
cultural consumption, which is, in turn, undergirded and conditioned by the intertwined forces of
consumerism, marketing, and branding
